董其昌視域下的王維山水畫之研究

本文主要是透過畫史文獻、考古發現與形式風格分析的進路與方法來對董其昌視域下的王維山水畫進行研究。首先，從董其昌文人畫與南宗畫的理論架構切入，釐清王維在這個系統的位置與影響，以證成王維在南宗文人畫「成宗作祖」的資格。董其昌的文人畫觀念與對王維畫的推崇，深受蘇軾士人畫觀念以及「詩中有畫，畫中有詩」之說的影響。而董其昌習禪不輟，「以禪論畫」的傾向至為明顯，所以他的南宗論以及推尊王維為南宗文人畫之祖的論述，都與王維詩畫禪交融的藝術風格與特質密切相關。所以本文在上述對文人畫的系統和重要觀念做出探述之後，又分別從兩個面向來論述王維詩畫禪交融的現象與緣由，首先是透過「王維山水詩中的禪宗思想」的研究，以了解王維對禪學的因緣與造詣，並由此說明王維山水詩的勝處在很大的程度上乃得力於他的詩中有禪。而第二個面向則是透過王維「詩中有畫，畫中有詩」的研究，以掌握王維詩畫交融的特性。而統攝這兩個面向，即可發現王維的詩中充滿禪意，而這份禪意也隨著詩情隱躍在王維的水墨山水畫中。因為唐代作品可以流傳到現在的非常稀少，所以面對所謂唐畫作品就必須經過辨偽的程序以為立論的基礎。於是本文乃結合唐代畫史文獻、考古發現與敦煌石窟，從「山水之變」的角度來探索盛唐畫風，以期藉由對盛唐山水畫的時代風格的掌握，進而幫助我們在面對傳為王維的作品時，能有多一分判斷真蹟、摹品或偽作的客觀依據。本文在後半作品論的部分，分別對董其昌建構「南宗論」的關鍵作品—(傳)王維的《江山雪霽圖》、文人精神家園的理想寄託—王維的《輞川圖》以及董其昌視域下具有王維風格的宋、元山水畫，包括宋徽宗的《雪江歸棹圖》、趙令穰的《湖庄清夏圖》和趙孟頫的《鵲華秋色圖》與《水村圖》做出了考辨與風格分析的論述，確認了它們都蘊含了王維畫風的質素、因子，值得我們據此來體會王維的山水畫風。此外，本文的作品論還希望可以透過對具體的視覺圖像的研究分析以彌補單從畫史文獻認識王維山水畫的不足，畢竟真正的讀畫經驗與領悟，唯有從具體的作品入手，而非只是透過畫史文獻的文字想像，如此始能企求在一次的觀讀王維的相關作品中，悄然悟入「雲峰石色，迥絕天機。筆意縱橫，參乎造化」的高峰體驗。

關鍵字

文人畫；南宗論；詩中有畫；以禪論畫；時代風格；水墨畫；高峰體驗

並列摘要

This thesis attempts to analyze Dong Qichang ’s views on Wan Wei’s landscape paintings with the help of the literature of the history of paintings, the archaeological discoveries and the analysis of styles. First, this thesis focuses on Dong’s theory on literati paintings and so-called “Southern School of Painter-Poets”, identifying Wan Wei’s status in and his influences on the sect, providing a big picture of Wang’s status as a founder of literati paintings as well as the school. Dong’s ideas of “literati paintings” and his veneration of Wan Wei are deeply influenced by Su Shi’s ideas on “scholar paintings” and “Painting within poetry//poetry within painting”. Dong dedicated himself to the study of Zen and tended to read paintings through the approach of Zen. This can make us understand that his views on Southern School and his veneration of Wan Wei as the founder of the school have to do with Wang’s ideas of “the tie between poetry, painting, and Zen “ and Wang’s artistic styles. Based on the above exploration of “the system and main ideas of literati paintings”, this thesis will further discuss the phenomenon and origins of the tie between poetry, painting, and Zen. Firstly, we will study the thoughts of Zen in Wan Wei’s paintings to help us see the big picture of Wang’s tie with Zen and his achievement in Zen. This will further explain why Wang’s ideas of “Zen in poetry” has to do with his achievement in landscape paintings. Secondly, we will study the idea of “Painting within poetry//poetry within painting” and borrow the idea as an approach to the understanding of the combination of poetry and painting in Wang’s poems. These two kinds of study enable us to understand how Wang’s poems are full of the ideas of Zen and how Zen lurks in his poems. Since only a small number of paintings made during Tang dynasty are still kept now, it is necessary to do a verification of these paintings if they appear. To do this kind of verification, we appeal to the artistic styles in the paintings made during Tang Dynasty, investigating the changes in artistic styles with the help of the literature on the paintings in Tang dynasty, archaeological discoveries, and the Dunhuang Grottoes. The study of artistic styles of the paintings in Tang dynasty can provide us an objective criterion to do verification of some of Wang’s paintings. In the second part of this thesis, we will discuss Wang’s paintings themselves. We will investigate Dong Qichang’s views on Wang’s paintings and analyze the artistic styles of them. We will focus on Dong’s view on Wang’s “The River and Mountain after Snow”, which Dong considers as the founder of Southern School; on Dong’s view on Wang’s “ The Painting of Wang River”, which Dong thinks features the spirit of the men of letters; on some paintings made during Sung and Yuan dynasties, which feature Wang Wei’s style, including Sung Huei Chung’s “The Painting of the Returning Fishing Boats on the Ice Surface of the River”, Chao Lin Yi’s “ the Mansions beside the Lake in Cool Summer”, and Chao-Mung’s “The Autumn Colors on the Ch'iao and Hua Mountains” and “The Painting of the Villages beside the River”. Dong’s views on Wang’s paintings and our analysis of the artist styles of them can help us verify Wang’s artistic characteristics in the paintings and appreciate the paintings through these characteristics. Furthermore, our study of Wang’s paintings themselves and the detailed analysis of the visual features in them can make up for the insufficiency of the approach of the mere literature analysis of Wang’s landscape paintings. Only through the detailed analysis of the paintings themselves can we appreciate the paintings in a lively way. Only the analysis of the paintings themselves, not the empty imagination provided by the words, can help us appreciate the atmosphere and supernatural sceneries in Wang’s paintings. Ultimately, the analysis of specific paintings themselves can provide the peak experience of participating in the movement of the universe

並列關鍵字

literati paintings ； the view on the Southern Sect ； poetry within painting ； Zen within painting ； the style of the time ； ink paintings ； peak experience